#neumats

[roguesidea]

pair of neumat adopts on toyhouse, loosely themed on stardust/seafoam!

[celestdraws]

phos normally has a purple night time paint job, but they thought it'd be nice to try out the bright shades of day.

[metalshockfinland]

NEUMATIC PARLO Release Highly Anticipated Debut Album "Play It As It Lays"

Neumatic Parlo, the dynamic five-piece band hailing from Düsseldorf, has just released their debut album play it as it lays on Unique Records, marking a significant milestone in their sonic journey. The band presents an eclectic and emotionally charged album inspired by the themes of urban disillusionment and lost ambition found in Joan Didion’s novel of the same name. Founded in 2017, Neumatic…

[aaronofithaca05]

@nikoisme. Niko, being lost at sea it´s not funny, as you ported, if it´s more than a week even to this day, and in that time it was a bigger nightmare, supplies dry quickly in hours, the salt poisons every jar of water, the Mediterranean sun eats everything in it´s path, cloths began to stiffen and having holes, colours lost the vibrancy, the little splashes of water dries the lips, the hands get calloused because of the ropes (esparto and not soft textiles), being totally awake and ready as the sea in unpredictable takes a toll, as days becomes weeks and months, you´re in the brink of death by heat, hunger and THIRST!,

Also as a ship owner (not true is my mom´s and is quite small), you can have motion sickness well into the night!, It happens to me, after a day in my boat i go to bed and it feels as it moves and I´m not joking.

Odysseus might have had one of the worse voyages of all time, as the unpredictability of the sea, the disappearances of supplies and more it must have taken him a big toll.

Eventhough I love the sea, I know it´s risks, how many lives it has taken, noobs and masters, everyone is equal at sea.

As a summary of my post here´s a verse (Mediterráneo, Serrat)

I, who has the bitter cries of eternal sobs on my skin, that have been poured by 100 people from Algeciras to Istanbul..

As of misadvenures, your soul is deep and dark.

Yo, que en la piel tengo el sabor amargo del llanto eterno Que han vertido en ti cien pueblos de Algeciras a Estambul. A fuerza de desventuras, tu alma es orfunda y oscura..

y'know what i'd love to see more of?? All the struggles odysseus experienced on board, and then it's taken from him once he returns. The familiarity of danger and shortage,,

[3584-tropical-fish]

hello i would like to know about medieval chants since you keep mentioning them

YAYYY okay buckle up because ive got A Lot that i've learned and i need to prep for an exam

so, in the middle ages you have a lot of monks following the rule of st. benedict, which (among other things) instructs monks to partake in some type of work, and to read sacred texts. Benedict doesn't specifically instruct monks to translate and preserve these texts, but the way he worded it means that a lot of them take it to mean that part of the work they should be doing is translating these old texts.

Particularly, they're translating greek scholars, and the guy important to medieval chant is Ptolemy. Ptolemy basically took a lot of earlier theorists works and modified them to fit his system, but the main things to remember is that ptolemy discussed:

pythagorean tuning (presumably developed by Pythagoras, based on ratios of string length to determine intervals)

the "perfect" intervals that result from this (octaves, fourths, and fifths)

Various modes (Dorian, Phrygian, Lydian, Mixolydian). we don't know what these modes were, but we do know that they existed

and monophony (multiple voices (both actual voices and instruments) performing the same melody and moving at the same time)

So these are the ideas that early medieval monks are basing their music off of. They're also not writing it down early on, and just sort of making notes in their hymn books. These early notes are referred to as "neumes", and we dont really know exactly what was meant by all of these. They seem to give some general indication of pitch, though.

I'll also say here that there wasn't any pitch standard at the time. People started at a note that worked for their voice, and then they just sand from there and improvised what sounded nice.

In the middle ages, monks also adopted the ancient greek modes. Since they didn't know what these modes were, they made up their own definitions. So, each mode was assigned a series of tones (/whole steps) and semitones (/half steps). So, dorian was T S T T T S T. The four that were taken from ancient greek theory are known as the "authentic modes", and when they're used in a chant, the chant tends to stay above the finalis (the finale note of the chant, which is specific to which mode a chant is in). Medieval theorists also introduce plagal modes, where the chant tends to dip lower than the finalis. So, dorian tends not to go below a D (its finalis), but hypodorian will.

(though again, pitch standard wasn't real. a medieval d would not be the same as a modern d. and tuning was different back then).

you also get early staffs! these use ligatures, and are written on a four line staff. The clefs are movable, and you have three of them (F, C, and G. These eventually become our modern bass, alto, and treble clefs).

^^ this is an example with an F clef (also this is on a five line staff! So it’s probably later Middle Ages). So, that middle line is F, and if we assume this page to be the full chant, the finalis would be D. As it rarely goes below that D, this chant is in dorian mode.

In this example, you can also see an example of note-syllable relationships. Most syllables on here only have one note attached to it, so this would be a syllabic chant. When a chant is or a more important day or in praise of someone more important, they tend to get more ornate, and that's when you get neumatic chant (each syllable has a couple notes sung on it, which you see in this example occasionally), or melismatic chant, where a single syllable will be embellished extensively.

Here's a good example of a melismatic chant! It's for st. michael's feast day, so it's very important and very ornamented. The video includes medieval sheet music, and you can see how "alleluia" is incredibly intricate from the get go.

Also worth noting is the way they taught this! in the modern day, we have our solfege systems, which started as the hexachord, a series of six notes taken from "ut queant laxis". If you were learning chant in the middle ages, you'd use "ut, re, mi, fa, sol, la", and when you needed to go beyond six notes, you'd mutate into a new hexachord. Hexachords came in three varieties: the natural hexachord which started on C, the soft hexachord which started on F (and included a Bb), and the hard hexachord which started on G (and included a B natural). Bb is the first accidental because it was used to avoid tritones. Again, still no pitch standard, so these notes were kind of whatever you wanted them to be, but what was important was knowing where the intervals between them were.

As time passes, people in certain areas began making their chant more complex. This is where organum comes in. Organum simplum is when you'd have two voices moving at the same time, in harmony. They'd tend to keep the voices a fourth or a fifth apart, and that results in stuff like this:

Then they add more voices and things get MORE intricate. Monks will take pre-existing chants and create elaborate ornamentation on top of it. the original chant becomes a drone underneath this ornamentation, and is known as the tenor. At this point we’ve moved away from monophony and entered heterophony (one main voice and several derivative voices), and even polyphony (many unrelated voices)!!

This also is a good example of rhythmic modes! you can hear the almost swing feel, which comes from the se rhythmic modes tending to break down into out modern day 6/8 sort of timing. I won't elaborate on this because im just now learning more about this so im not confident on my knowledge about it.

And there's also the english method that emerges later, which changes the tuning of a major third, and then bases their chants around that instead of fourths and fifths!

I am uh. realizing just how much i wrote. so im gonna say that's a good overview of fun medieval chant stuff, but i hope this all made sense!! you'll probably hear a lot more of this once i get around to composing "sweet dark mouth - chant style" though :) thanks for asking and giving me an excuse to ramble about it!!

[opera-ghosts]

OTD in Music History: [PART I] We celebrate “International Music Day” by briefly considering the roots of Western musical notation.

By ~1000 AD, a form of written notation that roughly indicated intervallic pitch relationships (which were expressed via symbols known as "neumes") had taken hold in monasteries across Europe.

(The earliest surviving form of this primitive notation is actually contained in the "Musica disciplina" of Aurelian of Réôme, which dates all the way back to c. 850 AD.)

Neumes originally functioned as little more than a rough visual aid to help monks remember chants that they had already been taught by ear. Because these early neumes only indicated general relational movements (as opposed to indicating specific pitches), this primitive notation system could not readily be leveraged to teach *new* chants.

Over time, however, this system slowly evolved and advanced to the point that composers could represent individual intervallic relationships with specificity...

PICTURED: A c. 1200 AD antiphonal music sheet that was hand drawn by an anonymous monk working in a German monastery.

This sheet features the Latin words and early neumatic notations (i.e., the weird “squiggles” that appear above some words in the text) characteristic of a Gregorian chant.

Because this early form of primitive notation predates the use of stave lines, it only indicates a very rough and approximate “outline” of the chanted melodies rather than indicating specific intervallic pitch relationships.

At ~850 years old, this artifact -- which is notated in ink on stiff vellum parchment -- is still in surprisingly good shape. Somewhat counterintuitively, older vellum items like this tend to stand the test of time much better than newer items that are printed on modern "pulp paper.”

Why?

Because pulp paper tends to have a much higher acid content.

Having said that, there are some curious “holes” afflicting this particular item.

Once again... why?

Because hundreds of years ago, someone recycled and repurposed this (already ancient) manuscript as binding material for use in a new book -- thereby simultaneously damaging it and, ironically, preserving it.

The verso (the book-nerd term for the reverse or "right" side of a double sided sheet that was originally bound with other sheets) of this relic is obviously in far worse shape than the recto (or "left") side. Once again, the explanation likely ties back to its former life as material within the binding of a book that was probably assembled sometime in the c. 1500s / 1600s.

Even after the development of the musical stave facilitated greater accuracy in indicating pitch and intervallic relationships between notes (see previous post), composers still faced a major problem: How could *rhythm* be indicated? The first attempts to systematically notate rhythm were not recorded until the 1300s. In these early efforts, composers were restricted to using common and well-established rhythmic patterns -- known as "rhythmic modes." This approach was highly restrictive and very rhythmically limited, however, and it took more than a century for methods for notating more unusual or novel rhythmic patterns to start to evolve... PICTURED: A particularly attractive and richly-illustrated c. 1370's antiphonal music sheet that was hand drawn by an anonymous monk working in a French monastery. This sheet features the Latin words and neumatic notation of a Gregorian chant, written out in a common rhythmic mode. Unlike earlier and more primitive forms of neumatic notation (see previous post), by the 14th Century the notational system had evolved to incorporate the use of stave lines so that specific intervallid pitch relationships could be indicated, as they are here. At ~650 years old, this artifact -- which is notated in ink on stiff vellum parchment -- is still in surprisingly good shape. Somewhat counterintuitively, older vellum items like this tend to stand the test of time much better than newer items that are printed on modern "pulp paper.” Why? Because pulp paper tends to have a much higher acid content.

[thewanderlast]

I don't like work chats. We should comunicate vía neumatic tubes. Or those tubes they use in boats

[jade-eclipse-lithium]

Don’t forget the “P” in “Receipt”.

Oh the dinosaur terodactyl. (Pterodactyl)

Not you’re just a fantom (Phantom) in the room.

Y’all sychotic. (Psychotic)

How neumatic. (Pneumatic)

What do you not get?

P.

[machinedalal]

Used Sheet Fed / Offset Machine for SALE

Heidelberg - SORS (S-Line)

Buy Directly from SELLER -

Number of color: 1

Max sheet size: 72x105 cm / 28.35X41.34 inch

Manufacturer: Heidelberg

Year: 1991

Machine Availability: Less than 30 days

Price: On Request

Location: Mohali, Ghaziabad, Uttar Pradesh, India

#print #offset #machinedalal

[roguesidea]

some new neumats assets i did...silly bobots

[galaxyedging]

Tunnels are not enough I want giant neumatic tubes so I can be transported to them in a second. @movievillainess721

[seadogmusic]

DEADWEIGHTS - SINGLE RELEASE

Our new single "Deadweights" has been released into the world and is available across most streaming platforms, as well as a limited edition 7" lathe cut record from Austerity Records.

It features a wonderful remix by Tom Chadd's side project Neumatic 💥

[yebisu]

While finishing my one last class before graduating with an accounting bachelor's, I had a Harry Potter themed stress dream where I was in objectively cool looking art deco, emerald green subway tiled walls, with galvanized metal neumatic tubes/pipes along the walls/ceiling ministry office building basement. It somehow made me realize I didn't want to do accounting.

I woke from it at like 4:15am, so of course my dad was already awake cus dad hours. I told him I didn't want to do accounting, and he just said, "okay, why don't you get a masters in something IT."

So, I did.

[bonmonjour]

Spelling Reform V: Digraphs and Clusters

Digraphs

Digraphs should be differentiated from clusters because they are two letters that combine to form one different sound, as opposed to two letters making their own sounds together. Most digraphs incorporate the letter H, though some do not. There are 7 digraphs with -h, three of which come from Greek and five of which are used for English words (yes).

The Greek ones are «ph, th, ch» and they stand for /f/, /θ ~ t/, /k/ respectively. The first one is very easy to understand and can be seen in «phóto» for example. The second one is usually /θ/, like in «math», but sometimes it's /t/, like in «Thomas». Finally, «ch» is always a hard /k/, even before front vowels, as can be seen in «schém» [scheme] and «schism».

The other five are «ćh, gh, sh, th, wh». These five sound like /ʃ/, /f/, /ʃ/, /θ ~ ð/, and /ʍ/, respectively. The first one is used for the soft CH in words borrowed from modern French, like «maćhìn» [machine]. Then, «gh» being /f/ is an artifact of one of the pronunciations of the letter yogh. This usage shows up in words like «røugh» [rough] and «lagh» [laugh]. The last three work exactly like they do in standard English orthography. This includes the fact that «th» can be voiced or unvoiced, and that «wh» represents the phonemic category of /ʍ/ even when most speakers have merged it with /w/.

There are two more digraphs I'll mention here: «sć» and «sćh». Both of these make /ʃ/. The first one is used in words like «fasćism» where ⟨sc⟩ in some foreign language makes /ʃ/. Otherwise, some people might end up (and have ended up) pronouncing it like /fæs.kɪzm/. The other place I use «sć» is as a replacement for ⟨sh⟩ in words that 1) have been in the English language continuously since before the Norman conquest and 2) have clear cognates in related languages.

In addition, «sćh» is mostly there to preserve spelling like in «sćhàdenfreùde» or «ùbermensćh» or «sćhezwàn».

Half Clusters

These are consonant clusters in which one letter (almost always the first letter) is not pronounced. Some of these are native to English, but most come in Greek loanwords. Thankfully, most of them only appear at the start of the word and the have a simple rule: don't pronounce the first letter. Some of them can appear at the end too though.

The reason for keeping these half clusters instead of spelling everything according to pronunciation vary. The most common is keeping roots the same even when pronunciation changes, such as with "phlegm"/"phlegmatic," "sign"/"signal," and "autumn"/"autumnal." Sometimes it's for disambiguation, like «rít / wrít» [rite / write], «niht / kniht» [night / knight], and «neumatic / pneumatic». And sometimes it's just for etymology's sake.

Not all Greek clusters are kept however. For example, the ⟨tm-⟩ in "tmesis," ⟨bd-⟩ in "bdellium," and ⟨-chm⟩ in "drachm" are simplified to just «meßis, delium, dram».

[supercantaloupe]

thinking of strongarming my colleague to playing arrival of the queen of sheba with me for the medieval banquet this fall lol

[extremely-nervess]

The latest girl looks cute! What's the eyepatch for? Just stylistic choice, eye damage, utility (it looks large and bulky enough to be some kind of tech/lens), or is it concealing some kind of magic eye?

The 'anti-eyepatch' detects when Nem's beam-eye has regenerated, and removes it with a short neumatic spike.